This album is re-release of the debut CD of the cult Archangelsk
ritual darkwave \ neo-folk band MOON FAR AWAY. Without any doubt we
could say that from this album the development of the Russian gothic
culture have started. And this album have demonstrated west the main
point of the Russian gothic. We could compare "Lado World" with corner
stone on which Russian dark scene was built. In spite of the fact that
the upper floors of this building look more modern in some way, the
basis is always the basis - "Lado World" was the beginning of
everything. The privilege of the classic is that fact that we always
get back to it.

In this album very different and at first sight incompatible
durations, cultures and folk characters are combined. But all this is
combined in very deep fundamental way. "Lado World" is one of the
brightest example of the ritual tendency in the modern music. It's the
hymn to the eternal run of the nature and it's reflection in human
existence.

This Shadowplay release is not just reprint. This release includes two
disks. The first one is new version of the "Lado World" album that was
released in 1996 on the famous Russian label Exotica Records
(remastering of the 2005 year was maid by Emily A. Saaen). The second
one is called "anti-Lado World" and presents 17 (!) exclusive remixes
and caver-versions of the Moon Far Away songs, that have done by very
famous west and Russian musicians of the dark scene working in very
different stylistic from neo-folk to experimental and goth-electro. We
could just add that the staff of the members of this project will
amaze you!

REVIEWS:

This Russian band welcomes us into its mysteries with a solemn start, for
"Lado World" has a serious resonance despite its moments of melodic levity
and even ecstasy. The percussion is an extraordinary tapestry made up of
drums, bells and materials of all textures and weights, suggestive of ritual
performed on sacred ground, or simply of leaves falling naturally upon an
ancient site. Anea piques our curiosity with her secretive chant in
"Praesagium," and the crisp arrangement of "Autumn Song" trails into the
night forest of "Septem Nomina," seductive with low vocals and high flutes
that organize into an ascendant pattern. "Eos Dance" and "Tanz des
Trubsalendes" call and answer with echoing voices that keep pace with the
circling winds and drums, inspiring delight and reverence.
Carolee. Gothic Beauty Magazine #24, 2007, (USA)

I guess when you’re naturally familiar with a geographical vastness then you are best equipped to accurately portray remote
feelings, the
vagaries of any wilderness, with relevant emotional allegories tied in, and an overall aura of desolation, which Moon Far
Away did so
beautifully on ‘Whitewaterland (Belovodie.)’ The wide-open Russian feel moves from barren to tightly flushed and while some
call this
neo-folk it is far too good for that, and simply gives traditional folk the full-on ambient and ethereal treatment,
ensuring an artistic
balance and harmony which highlights individuals depicting what they feel.

This is their first album, revisited, with an extra CD of their songs covered by other artists, and their historical
qualities are also
jostled by some strangely buoyant modern sounds, but mostly it’s the timeless feel which seems so magical.

‘Timefall’ seems tranquil, but with weariness etched in, on a mystical piece where a haunting wash becomes invaded by a
harsher, rising air.
‘Praesagium’ sees a cute flute roll over a bulging bass, with casually attractive vocals stepping nimbly with the steady
march. ‘Elevsinia’
is positively jaunty with softly paddled percussion and a fluffy flute, then ‘Mare Frigidum’ is right and breezy, as
brittle keyboards have
fun.

‘The Autumn Song’ is chirpy too, the guitar weaving happily over crisp drums and harp-like sounds. It’s so airy and light,
it’s divine.
‘Septem Nomina’ is weirder, with curlier pipes and chimes, but very catchy in its odd way, and after the minimal
instrumental ‘Syrinx’, there
is a droning piece of medieval drowsiness in ‘Eos Dance’ that allows the male and female vocals to spar, hotly.

‘Amusements Of Demiurg’ feels like amsong awakening, with a pleasant tangle of not entirely uplifting sounds. ‘Der Tanz Des
Trubsalendes’ is
their Gothiest song, slippery as a free-=flowing musical stream, and then the twinkling array of keys and chimes makes
‘Horror Vacui (Pan
Theme)’ perky, before the closing drama of a stern ‘Nogh Einmal’ evokes subtly shiftying beauty, but it’s never actually
serene which is what
separates them from many Ethereal-related bands, because they’re not actively searching for anything pretty. It bleeds into
the distance like
a russet dusk.

The remixes/covers of the second disc are decent and plentiful.

Requiem For FM solid, grave dancey ‘Witchcraft By A Singing’, Theodor Bastard’s ‘Praesagium’ hjas a more brooding feel,
Caprice’s ‘Zhito
Zhala’ is sweetly delineated wispiness and Dreams In Exile do ‘The Blueberry Song’ with chunky vocals like an addled Bill
Pritchard. Lys loll
and curdle during ‘Na Zore’ with ullulkation and brusuque percussion.
Yagoda Galo do ‘The (Spring) Song Of Slovisha’ like a cast off from Local Hero, but Vishudha KaKali’s ‘Zvetiki’ crackles
and distorts like a
nursery crime. Chirleison’s ‘Hymn’ is gloriously aged initially but becomes enchanting like a smaller-budget Qntal.
ID Molotov’s ‘Volna Shumit’ really stands out as being totally mental doof attack gone crazy into which churchy female
vocals wander, and it
works! Talk about against the odds. The rhythm, even intensifies while she glows in the distance. It’s quite the maddest
mixture I have heard.

Lexei Borisov’s ‘Syrinx’ is a scratchy holistic ambient snapshot, and it’s only the white noise overload of Majdanek
Waltz’s ‘Amusements Of
Demiurg’ which made me flinch.
DJ Dirty/Laser Interferometer Orchestra’s ’Eos Dance’ is good fun, where they whip up a background concoction, and
slaughter it in the
foreground with pulses like angry guitar turmoil and then it goes wonderfully punk, hammering away, then slip back into
minxy nibbling over
drums and pipes with a lilting vocal, then turning downwards into spluttering, charming elegance. Necro Stellar whirl
‘Krug-Koltso’ around
their heads in a frisky dance, Woid also do ‘Praesagium’, like a form of sonic torture. Ritual Front’s take on ‘The Autumn
Song Of Slovisha’
is altogether mustier, but still with a spry, positive beat. Heaven Falls Hard bring a restful sadness to ‘Ty Vzoidi Krasno
Solnyshko’ with
passionately wavering female vocals, and then Hybryds send us off with a fittingly austere ‘Moon Far Away’ which still
booms and rustles like
a disturbing dream.

And that’s the whole point in many ways. You’re always half inside it, and half out. It’s a whole new world, and I think
you’ll enjoy
exploring.Mick Mercer